摘要
“艳”在传统文论中被认为具有绮靡眩惑之审美特性,于是,在诗文品评中颇受争议。然而,在戏曲批评中,“艳”却具有很大的积极意义,它表征俊丽的藻采音律、奇巧生新的构局用事,深厚绵长的情致,可以促进曲作的传唱搬演,是戏曲“本色”之体现。“艳”与传统诗文的审美准则相调和,亦可促成戏曲雅俗共赏之审美准则的形成。
“Yan” is considered to have gorgeous and confused aesthetic characteristics in traditional literary theory, so it is controversial in the poem commentary. However, in the criticism of opera,“Yan” has a great positive meaning. It refers to the magnificent rhetoric, ingenious constructions or matters, and lingering emotions, so it can promote opera performance, expressing the opera “true color”.“Yan” can also reconcile to the traditional poetry aesthetic criteria as well as contribute to the formation of the opera’s aesthetic criteria which suit both refined and popular tastes.
作者
傅涓
FU Juan(Post-doctoral Philosophy Mobile Station of Fudan University, Shanghai, 200433, China)
出处
《贵州大学学报（社会科学版）》
2019年第3期141-147,共7页
Journal of Guizhou University(Social Sciences)
基金
2016年度教育部人文社会科学重点研究基地重大项目“中国古代形式批评类编与研究”(16JJD750013)
关键词
“艳”
绮靡眩惑
情致
本色
雅俗共赏
“Yan”
gorgeous and confused
emotions
true color
suit both refined and popular tastes
